User Manual
Table Of Contents
- A Few Words of Thanks
- Chapter 1: Getting Started
- Rear Panel Connections
- Setting Up the Pro 3
- Using the Main Display
- Sound Banks
- Editing Programs
- Saving a Program
- Using Paraphonic Mode
- Exploring the Pro 3 in Greater Depth
- Chapter 2: Pro 3 Controls
- Oscillators
- Mixer
- Filters
- Amplifier Envelope
- Auxiliary Envelopes
- Low Frequency Oscillators
- Modulation
- Effects
- Arpeggiator
- Sequencer
- Normal, Gated, and Trigger Modes
- Programming the Sequencer
- Recording Phrases/Sequences A,B,C, or D.
- Sequencing Parameter Changes in Real-Time
- Copying a Sequence from One Track to Another
- Copying and Pasting an Entire Sequence
- Muting a Sequence Track
- Creating An Extended Sequence
- Paraphonic Sequencing
- Adding Rests, Ties, and Velocity
- Editing Duration
- Adding Ratcheting
- Editing Other Elements of a Sequence
- Setting or Changing the Destination of a Track
- Recording Additional Sequencer Tracks for Modulation
- Using Slew
- Turning off the Sequencer’s “Notes” Track
- Sequencer Parameters (Front Panel)
- Additional Sequencer Parameters (Display Menus)
- Cue Program
- Tuned Feedback
- Master Volume/Program Volume
- Transpose
- Hold
- Glide
- Pitch and Mod Wheels
- Touch slider
- Adding Aftertouch
- Distortion
- Play List
- Miscellaneous Parameters
- Global Settings
- Chapter 3: Programming the Pro 3
- Synthesis 101: Synth Bass
- Creating Synth Brass
- Creating a Hard-Sync Lead
- Chapter 4: Using the Pro 3 with External Devices
- Appendix A: Modulation Sources
- Appendix B: Modulation Destinations
- Appendix C: Troubleshooting and Support
- Appendix D: Calibrating the Pro 3
- Appendix E: Alternative Tunings
- Appendix F: MIDI Implementation
- Bookmark 1
- Bookmark 1
32
Filters
Sequential
To hear the effect of the Filter Envelope:
1. Press the global button and use Soft Knob 1 to navigate to the basic
program command, then press Soft Button 1 (write now).
2. Press the low-pass 1 button to select this lter type.
3. Hold down a note and rotate the lter’s cutoff knob to set it to
a value of 40 (refer to the main display to see its numeric value).
4. Play a note. At this point you may not hear anything because you’ve
closed the lter signicantly.
5. In the Envelopes section, turn the Filter Envelope’s amount knob to a
value of 50 (refer to the main display to see its numeric value).
6. Play a note. Notice how the sound has changed. The Filter Envelope is
controlling lter cutoff by the amount you set with the amount knob.
7. Repeatedly strike a note on the keyboard as you turn the Filter Enve-
lope’s decay knob clockwise and counterclockwise. Notice how it
changes the sound as the note decays faster or slower after its initial
attack stage.
8. Now experiment with the Filter Envelope’s attack knob. Notice how
the attack becomes faster or slower.
9. Now hold down a note and experiment with the Filter Envelope’s
sustain knob. This controls how wide the lter stays open while you
hold down a key on the keyboard.
10. The Filter Envelope’s release parameter acts in conjunction with the
Amplier Envelope, so to hear its effect, rst set the Amp Envelope’s
release value to 75.
11. Now repeatedly strike a note on the keyboard as you turn the Filter
Envelope’s release knob clockwise and counterclockwise. Notice how
the note fades out faster or slower as you change the release value.
12. Continue experimenting with various Filter Envelope settings while
you adjust the Filter Envelope’s env amount knob. Notice how greater
amount settings amplify the effect of the envelope on the lter.
As noted above, the Filter Envelope and Amplier Envelope often work
in conjunction, with the Filter Envelope controlling how the lter opens
and closes and the Amplier Envelope controlling how the Amplier
controls the overall volume shape of the sounds you create. To learn
more about the Amplier Envelope, see page 35.